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Modern Art Movements to the Present

Modern Art Movements to the Present

24 Modern Movements to the Present

ave you ever been to a ? Did the artworks look H similar to one another? Have you ever heard of or seen the works of Salvador Dalí or ? Diversity is the word that best describes the art of the modern era. Today’s make even greater use of new techniques and materials to express their ideas, beliefs, and feelings. Art movements of the past have given way to an astonishing array of individual art styles.

Read to Find Out As you read this chapter, find out about North American and European art after World War II. Learn about , , and Abstract . Read further to find out about new forms of , , , and forms.

Focus Activity Look at the work in Figure 24.1. Divide a piece of paper into two parts. In part one, record your contemporary perspective of the work. In the other part, record how you think a or a nineteenth-century artist might react to this work. What would you say to the earlier artist to defend the painting? Does the represented by this work look like any style you have studied in earlier chapters? Examine and respond to each of the artworks in this chapter.

Using the Time Line The Time Line introduces you to some of the events of the modern era and the many diverse artworks that you will study in this chapter. How do you think Michelangelo or Cézanne would respond to these works?

1924–25 1932 1942 Joan Miró’s Georgia O’Keeffe painting Carnival draws inspiration portrays the struggles 1914–18 of Harlequin from nature 1939 –1945 of African Americans World War I (credit, p. 547) (credit, p. 551) World War II (Detail. Credit, p. 551)

1900 1920 1930 1940 1915–22 c. 1920 c. 1930 c. 1945 Movement Surrealism Regionalism Abstract

544 ■ FIGURE 24.1 Elizabeth Murray. Just in Time. 1981. Oil on canvas. 269 500 cm (106 97). Philadelphia Museum of Art. Purchased with the Edward and Althea Budd Fund, the Adele Haas Turner and Beatrice Pastorius Turner Memorial Fund.

1958 1968 1978 1981 paints Allan Houser’s Elizabeth creates Sky Lac Laronge IV in the are inspired by his Native Murray paints Cathedral new Hard-Edge style American heritage Just in Time (credit p. 564) (credit p. 556) (Detail. Credit p. 565) Refer to the Time Line on page H11 in your Art Handbook for more 1950 1960 1970 1980 2000 about this period. c. 1950s c. 1960s c. 1970s c. 1980s 1990 Photo- Post Digital Art

545 LESSON ONE Revolutions in European and American Art

Vocabulary he years following World War I in Europe were marked by revolution ■ Dada ■ Pop art T and inflation, anxiety and unrest. Many people realized that the ■ Surrealism ■ Op art “war to end all wars” was not going to bring about peace and prosperity ■ Regionalism ■ Hard-Edge for long. It was a time of disillusionment, and this was apparent in much ■ Abstract ■ Photo-Realism of the art that was produced. Expressionism

Artists to Meet Painting in Europe: Dada, ■ ■ Joan Miró Surrealism, and Fantasy ■ Salvador Dalí One group of artists expressed their disillusionment through their art. ■ ■ Known as Dada, the movement ridiculed contemporary culture and tradi- ■ tional art forms. The movement is said to have received its name when ■ one of its members opened a dictionary at random and stuck a pin into ■ Georgia O’Keeffe the word dada. The word, which sounded like baby talk, made no sense ■ Jacob Lawrence at all. Because the members of the movement believed that European cul- ■ ture had lost all meaning and purpose, this word seemed appropriate. ■ ■ ■ ■ Frank Stella Marcel Duchamp ■ Alfred Leslie (1887–1968) ■ ■ Andrew Wyeth Dada artists such as ■ Marcel Duchamp (mahr-sell ■ doo-shahn) exhibited the ■ Elizabeth Murray most ordinary and absurd ■ Judy Pfaff objects as works of art. These objects included a bottle rack Discover and a bicycle wheel mounted After completing this lesson, on a stool (Figure 24.2). you will be able to: ■ Explain what is meant by Dada, Perhaps no work sums up the Surrealism, and fantasy in art. Dada point of view as well as ■ Define Regionalism and point Duchamp’s photograph of out the features that made it a Leonardo da Vinci’s Mona uniquely American art style. Lisa—with a carefully drawn ■ Identify the most important mustache. With works like characteristics of Pop art, Op art, Hard-Edge painting, this, the Dada artists sought and Photo-Realism. ■ FIGURE 24.2 This is the first kinetic, or mov- to ridicule the art of the past. ing, sculpture in the history of Western art. The Dada movement ended in 1922. It set the Marcel Duchamp. Bicycle Wheel. New York (1951. Third ver- sion, after lost original of 1913). , metal wheel, stage, however, for later 63.8 cm (251⁄2) diameter, painted wood stool, 60.2 cm (23 3⁄4) artists who were attracted to 1 high; overall 128.3 cm (50 ⁄2 ) high. Collection, The Museum of the idea of creating art that Modern Art, New York. The Sidney and Harriet Janis Collection. © 2004 Artists Rights Society (ARS), New York / ADAGP, / was whimsical, humorous, Succession Marcel Duchamp. and fantastic. 546 Joan Miró (1893–1983) Joan Miró (zhoo-an mee-roh) was a forget- ful, modest little man who looked as if he should be working in a bank rather than in a painting studio. In 1925, Miró startled the Paris with a painting called Carnival of Harlequin (Figure 24.3). This work helped make the Spanish artist a major figure in twentieth-century art. The painting was among the first to introduce a new style of art called Surrealism, in which dreams, fantasy, and the subconscious served as inspiration for artists. The Surrealists were a group of artists who ■ FIGURE 24.3 This was among the first works to be rejected control, composition, and logic. They called Surrealist. Identify specific Surrealistic characteristics chose to paint the world of dreams and the in the painting. subconscious. The world of dreams had Joan Miró. Carnival of Harlequin. 1924–25. Oil on canvas. Approx. 66 5 been explored before by Hieronymus Bosch, 92.7 cm (26 36 ⁄8 ). Albright-Knox , Buffalo, New York. Room , and others. In even the most of Fund, 1940. © 2004 Artists Rights Society (ARS), New York / ADAGP, Paris. fantastic of their works, however, the subjects could be recognized. This is not true of Miró’s . Miró experienced many hardships in his life, and these led to the visions that inspired paintings like Carnival of Harlequin. When he arrived in Paris in 1919, poverty forced him to live on one meal a week, chewing gum to deaden his appetite and eating dried figs for energy. Then, when he began painting, forms came to him as if seen in a vision. Sometimes an accidental brush mark suggested the beginnings of a picture. This period of unconscious experiment was care- fully limited. Then Miró worked on each detail in the painting. The result of this effort was a carefully controlled . ■ FIGURE 24.4 Slightly larger than a standard sheet of typing paper, Dali’s painting manages to look larger than life. Can you find the artist’s self-portrait in this picture? Salvador Dalí (1904–1989) Miró’s countryman Salvador Dalí (dah-lee) Salvador Dalí. The Persistence of Memory. (Persistance de la memoire). 1931. Oil on canvas. Approx. 24 33 cm (9 1⁄2 13). The , New York, New York. Given joined the Surrealist movement late and used anonymously. © 2004 Salvador Dali, Gala-Salvador Dali Foundation / Artists Rights Society his skills as a master showman to become (ARS), New York. its most famous member. In The Persistence of Memory (Figure 24.4), he created an eerie world in which death and decay are Dalí’s Use of symbolized by a dead tree and a strange sea The meaning of this unusual picture seems monster decomposing on a deserted beach. clear: In time, everything will die and decay Ants swarm over a watch in an unsuccessful except time itself. Time alone is indestruc- attempt to eat it. tible. The limp watches indicate that someone

Chapter 24 Modern Art Movements to the Present 547 has the power to twist time as he or she sees hours studying shells, coral, butterfly wings, fit. That person is the artist who painted them stained glass, and mosaics. His reactions in this way. Dalí tells you that the artist alone, to the world resulted in pictures that freed through his or her works, is able to conquer viewers from traditional ways of looking at time and achieve immortality. things or caused them to smile with delight The meanings in Dalí’s other works are not and amusement. always as clear. In some, the symbolism is lost to everyone but the artist. Furthermore, his Fish Magic images are frequently so bizarre and grotesque ■ FIGURE 24.5 that some people have called them the products In 1902, while in Italy, Klee visited the of a madman. Dalí, enjoying the controversy aquarium in Naples. For hours he stood with caused by his works and his unusual behavior, his nose almost pressed against the glass, responded by saying, “The difference between a watching the fish in the huge tanks dart, turn, madman and myself is that I am not mad.” and glide gracefully by. He was bewitched by the colorful fish, the flora that swayed gently Paul Klee (1879–1940) in the current, and the bubbles that drifted lazily upward. Later, inspired by what he saw Although the Swiss painter Paul Klee (clay) in the aquarium, Klee took his brush and was never a Surrealist, fantasy was an impor- slowly began to make lines and shapes on a tant part of his painting. Working on scraps of canvas. He had no definite idea in mind, but burlap, paper, glass, and linen, he produced as he worked, forms slowly began to take almost 9,000 paintings and based on shape. He painted many pictures this way, his own imagination and wit. each showing a marvelous dream world sug- Klee was fascinated by a world that he gested by what he had seen in the aquarium. said was filled with wonders; he spent One of those pictures was named Fish Magic (Figure 24.5). Regionalism and the American Scene American art, from the time of the in 1913 until the start of World War II in 1939, owed much to the modern art move- ments that developed in Europe at the begin- ning of the century. Some artists were influenced by the bright, decorative style of the Fauves or explored their own personal approaches to . Others adapted the approach of the Expressionists or the Surrealists. Some American artists chose not to follow the art movements of Europe, because they felt those doctrines were too complicated. ■ FIGURE 24.5 The son of a teacher, Klee found it difficult to They wanted to paint the American scene in a choose between a career as a violinist or painter. What procedure did clear, simple way so that it could be under- Klee follow when painting a picture like this? stood and enjoyed by all. During the , Paul Klee. Fish Magic. 1925. Oil on canvas, mounted on board. 77.5 97.8 cm Regionalism became a popular art style in (30 3⁄8 381⁄2). Philadelphia Museum of Art, Philadelphia, Pennsylvania. The Louise and Walter Arensberg Collection. © 2004 Artists Rights Society (ARS), which artists painted the scenes and events New York / VG Bild-Kunst, Bonn. that were typical of their sections of America.

548 Unit Seven Art of the Modern Era LOOKING Closely ➤ USE OF THE ELEMENTS AND PRINCIPLES When you go beyond description to con- duct a thorough analysis of this painting, you will recognize how skillfully the artist orga- nized the work. • Harmony. A curved contour line is repeated over and over again throughout the work, adding harmony. Use your finger to trace the contour line at the curve repre- senting the top of the woman’s apron. Then see how many similar curves you can find in the rest of the picture. • Pattern. Notice that the pattern of the pitchfork is repeated in the seam of the man’s overalls. • Emphasis. The heads of the figures are given emphasis by being linked to the hor- izontal lines of the porch roof and the diagonals forming the peak of the house.

■ FIGURE 24.6 Grant Wood. . 1930. Oil on beaver board. Approx. 74.3 62.4 cm (29 1⁄4 241⁄2). The Art Institute of , Chicago, Illinois. Friends of American Art Collection. All rights reserved by The and VAGA, New York, New York, 1930.934.

Thomas Hart Benton painted his native Edward Hopper (1882–1967) Missouri; John Steuart Curry, Kansas; and Edward Hopper was not a Regionalist in Grant Wood, Iowa. the true sense of the word, although he did paint the American scene in a realistic man- ner. Hopper had early ties with the Ashcan Grant Wood (1892–1942) School. Unlike the Ashcan artists who used Like the other Regionalists, Grant Wood the city as a setting for their pictures, Hopper studied in Europe. In Paris, he was exposed to concentrated on the moods and feelings the modern art styles, but the fifteenth- and aroused by the city itself. Ignoring the conges- sixteenth-century Flemish and German paint- tion and excitement of city life, he set out to ings he saw on a trip to , Germany, capture the and loneliness that are made a deep impression on him. When Wood also a part of the urban scene. returned to his native Iowa, he painted rural Many of Hopper’s works do not include peo- scenes using a style of Realism modeled ple. He communicated a feeling of loneliness, after that of the Flemish and German works. isolation, and monotony through his pictures His well-known painting American Gothic of deserted streets and vacant buildings. When (Figure 24.6) captures some of the simple he did show people, they were often seen faith and determination of the European through the windows of all-night diners, nearly Gothic period. empty houses, and drab apartment buildings. Chapter 24 Modern Art Movements to the Present 549 Automat uninviting room and the woman’s expression ■ FIGURE 24.7 communicate a sense of loneliness. Hopper’s Typical of Hopper’s unique style of painting painting seems to be telling us that for many is Automat (Figure 24.7). Here he shows a people, loneliness is as much a part of life in a solitary figure drinking a cup of coffee in an great city as wide boulevards, towering sky- automat, a type of restaurant where food can scrapers, and constant traffic. be obtained from machines. The cold, American Artists Take a New Direction Painters such as Grant Wood and Edward Hopper remained convinced that art should make use of subject matter. Other artists, however, did not share this commitment to subject matter. Included among them was Stuart Davis.

Stuart Davis (1894–1964) Although Stuart Davis’s early works were influenced by the , the Armory Show introduced him to new . Almost at once, ■ FIGURE 24.7 Sitting quietly and alone, the woman does not bother to he set out to find a new visual lan- remove her coat and hat. In a moment, finished with her coffee, she will turn guage with which to express himself. and leave. Why do you think the artist used this type of balance? In 1927, he nailed an electric fan, a

Edward Hopper. Automat. 1927. Oil on canvas. 71.4 91.4 cm (28 1⁄8 36). pair of rubber gloves, and an egg Permanent Collections. Purchased with funds from the Edmundson Art Foundation, Inc. 1958.2 beater to a table; for an entire year, he painted only these objects. It was a turning point for the young artist, because it drew him away from a reliance on subject matter and opened his eyes to the possibilities of abstraction.

Swing Landscape ■ FIGURE 24.8 Davis’s best works reveal his affec- tion for urban America. Sometimes, as in his Swing Landscape (Figure 24.8), he used parts of recognizable objects in his works. At other times, he used ■ FIGURE 24.8 Davis’s mature paintings drew inspiration from the lively sights and sounds of modern American life. In what way is this painting like the only the colors, shapes, and textures musical rhythms played by a jazz band? suggested by the world around him. He painted the American scene as he Stuart Davis. Swing Landscape. 1938. Oil on canvas. 2.2 4.4 m (72 3⁄4145 1⁄8). Indiana University , Bloomington, Indiana. © Estate of Stuart Davis/Licensed by VAGA, New York, New York. saw it, felt it, and heard it.

550 Unit Seven Art of the Modern Era Georgia O’Keeffe (1887–1986) Georgia O’Keeffe drew her inspiration from nature. O’Keeffe studied art in Chicago, New York, and Virginia before taking a position as a high school art teacher in Amarillo, Texas. She was immediately fas- cinated by the beauty of the dry, open Western land- scape. While in Texas, she began to paint watercolors based on her response to the flat, stark surroundings. Without her knowledge, a friend took a group of O’Keeffe’s paintings to the gallery of in New York. Stieglitz was a talented and well-known photographer. He was impressed by O’Keeffe’s paintings and exhibited them in his ■ FIGURE 24.9 Notice how the flower fills the entire gallery. Stieglitz became her most enthusiastic canvas, commanding the viewer’s complete attention. supporter and, eventually, her husband. Do you regard this as a successful ? Explain. During her long career, O’Keeffe painted pictures of New York skyscrapers; the clean white bones, Georgia O’Keeffe. Poppy. 1927. Oil on canvas. 76.2 91.4 cm (30 36 ). Museum of Fine , St. Petersburg, Florida. Gift of Charles C. and desert shadows, and mountains of her beloved Margaret Stevenson Henderson in Memory of Jeanne Crawford Southwest; and flowers (Figure 24.9). Because a Henderson. 1972.32. © 2004 The Georgia O’Keeffe Foundation/Artists Rights Society (ARS), New York. flower is so small, so easy to overlook, she was determined to paint it in such a way that it could not be ignored. The result was a startling close-up view, painted in sharp focus.

Jacob Lawrence (1917– ) Jacob Lawrence came out of a tradition of social protest. The flat, brightly colored shapes that marked his mature style can be traced back to the work with poster paints and cut paper Lawrence did as a boy in a New York settlement house.

Tombstones ■ FIGURE 24.10 In Tombstones (Figure 24.10), Lawrence simpli- fied these flat, colorful shapes to tell a story of hope- lessness. Notice how the postures and gestures of the figures in this painting provide clues to their despair. None of these people seems inclined to go anywhere or do anything. They even ignore the crying infant in the baby carriage who has dropped her doll. In the basement apartment of the building in which they live is a tombstone dealer. Every day ■ FIGURE 24.10 Lawrence’s paintings portray the lives the people pass the tombstones on display or peer and struggles of African Americans. To what aesthetic down at them from their apartment windows. This qualities would you refer when judging this work? sight is a constant reminder that the only change in Jacob Lawrence. Tombstones. 1942. Gouache on paper. 73 52 cm (28 3⁄4 20 1⁄2). their dreary lives will come when their own names Collection of the Whitney Museum of American Art, New York, New York. © 2004 are carved on one of those tombstones. Gwendolyn Knight Lawrence /Artists Rights Society (ARS), New York.

Chapter 24 Modern Art Movements to the Present 551 or landscapes. They thought of the picture surface as a flat wall and emphasized the After World War II, a new physical action it took to paint it. Instead of took hold in America. Probably no other move- carefully planned brush strokes, artists drib- ment ever gained such instant recognition or bled, spilled, spattered, and slashed paints caused so much confusion and controversy. onto their canvases. As they applied colors this The roots of this new movement can be traced way, they looked for and emphasized areas of back to the works of , Pablo interest that added structure to their work. Picasso, and especially the Surrealists. The movement was called Abstract Expressionism, because artists applied paint Willem de Kooning (1904–1997) freely to their huge canvases in an effort to Willem de Kooning (vill-em duh koh-ning) show feelings and emotions rather than realistic was born in Holland but moved to the United subject matter. They did not try to create the States in 1926. Among his most powerful and illusion of space filled with figures, buildings, shocking paintings are those showing the female figure, which he began to paint in the late 1940s. Of course, many artists had painted women before. It was de Kooning’s way of showing women that aroused so much controversy (Figure 24.11). Some observers said that his women were grotesque, insulting, and ugly. In fact, they express de Kooning’s feeling that a woman is a great deal more than just a pretty face. She is revealed as a complex human being with unique interests, skills, and responsibilities. Her emotions range from hate to pity, anger to love, and sorrow to joy. De Kooning knew that it would be impossible to show all this by painting a traditional picture of a woman lim- ited to outward appearances. As he painted, de Kooning stripped away the façade to show the person within.

De Kooning’s Technique De Kooning’s new vision of women grew out of the creative act of paint- ing. Using sweeping, violent strokes, he applied an assortment of rich col- ■ FIGURE 24.11 His swirls and slashes of color helped define the Abstract ors to his canvas. Giving full reign to Expressionist style. What do you feel is the artist’s main concern here? Is it out- impulse and accident, he worked until ward appearances, or has the exterior been stripped away to allow the the image slowly began to come into viewer to see within the subject? focus. He never allowed the images to

Willem de Kooning. Woman VI. 1953. Oil on canvas. 1.74 1.49 m (68 1⁄2 58 1⁄2). Carnegie come completely into focus, however; Museum of Art, Pittsburgh, Pennsylvania. Gift of G. David Thompson, 1955. © 2004 The Willem a great deal is left to the viewer’s de Kooning Foundation/Artists Rights Society (ARS), New York. imagination. 552 Unit Seven Art of the Modern Era Jackson Pollock (1912–1956) De Kooning’s style was unique, yet his method of painting was more traditional than that of Jackson Pollock. Pollock placed his huge canvases on the floor while he worked. He walked onto and around them, using brushes, sticks, and knives to drip and spatter his paints on the canvas. This technique enabled him to become physically involved with the creative act. Pollock abandoned the idea that the artist should know beforehand how the painting will look when it is finished. He began each new work by randomly dripping paint over the entire canvas (Figure 24.12). He created works of line, color, and movement layered to produce complex textures. The purpose of Pollock’s art was to express his feelings, not just illustrate them. Other artists chose to picture feelings by painting figures crying, laughing, or suffering. Pollock’s pictures were created while he was experiencing those feelings, and they influenced his choice of colors and how those colors were applied. Helen Frankenthaler (1928– ) Helen Frankenthaler (frank-en-tahl-er) developed her own unique painting technique as an extension of Pollock’s method of apply- ing swirls and drips of paint onto a canvas spread out on the floor. Her painting tech- nique inspired a new art style known as painting: Nonobjective paintings that feature large areas of luminous color. Unlike ■ FIGURE 24.12 Jackson Pollock was known as an action Abstract Expressionists who emphasized the painter. Can you see from this painting why he was called that? spontaneous, physical actions of painting, Jackson Pollock. Cathedral. 1947. Enamel and aluminum paint on canvas. Color Field painters deliberately manipulated 181.6 89.1 cm (711⁄2 35 1⁄16). Dallas Museum of Art, Dallas, Texas. Gift paint to create compositions noted for their of Mr. and Mrs. Bernard J. Reis. © 2004 Pollock-Krasner Foundation/Artists Rights Society (ARS), New York. quiet balance and harmony. Frankenthaler moved away from a heavy application of paint, and instead used paint thinned with turpentine. She poured this thinned paint with soft edges, others with hard edges, onto an unprimed, or uncoated, canvas; the overlap, contrast, or blend with other paint sank into the canvas and stained it. The shapes. Frankenthaler’s concern centered paints produce flowing, graceful, free-form on the way these shapes work in relation shapes of intense color. These shapes, some to each other.

Chapter 24 Modern Art Movements to the Present 553 By concentrating on shapes and colors, Frankenthaler permitted a fantasy to take shape on the canvas. In Jacob’s Ladder (Figure 24.13), she makes reference to a bibli- cal figure, but, like all her works, the painting is nonobjective. Its images are for you to decipher; its meaning is for you to discover for yourself. Robert Motherwell (1915–1991) Another leader in the Abstract Expressionist movement was Robert Motherwell. Beginning in 1948, Motherwell created a series of large paintings reflecting the horror and destruction of the civil war in . Like Picasso before him (Figure 23.16, page 525), he revealed the war’s impact on the defenseless in paintings such as Elegy to the Spanish Republic ■ FIGURE 24.13 Frankenthaler’s technique elimi- (Figure 24.14). Huge, ominous black shapes nated the painterly brushstrokes that characterized nearly obscure a background of delicate, warm the works of other Abstract Expressionists. Do you think paintings like this relied entirely on accidental hues, suggesting an overpowering sense of effects? Where did the artist deliberately manipu- doom. Intent on communicating the helpless- late the elements of art? ness and anguish of an entire nation on the brink of an inevitable war, Motherwell chose Helen Frankenthaler. Jacob’s Ladder. 1957. Oil on unprimed

canvas. 113.5 117.2 cm (9 5 3⁄869 7⁄ 8). The Museum of to use a completely nonobjective style. Modern Art, New York, New York. Gift of Hyman N. Glickstein. 82.1960. Licensed by SCALA/Art Resource, NY.

■ FIGURE 24.14 An elegy is a speech or song of sorrow. How is sor- row expressed in this work? How is this work similar to Picasso’s painting of (Figure 23.16, page 525)? How does it differ?

Robert Motherwell. Elegy to the Spanish Republic 108. 1966. Oil and acrylic on canvas. 213.4 373.4 cm (84 147). Dallas Museum of Art, Dallas, Texas. The Art Museum League Fund. © Dedalus Foundation/ Licensed by VAGA, New York, New York.

554 Unit Seven Art of the Modern Era Diversity in environment—for example, a three-way elec- trical plug (Figure 24.15)—in much the same Contemporary way that Georgia O’Keeffe treated objects found in nature. Both enlarged their subjects American Painting to increase their impact on viewers. O’Keeffe Throughout history, each new generation did this to call attention to the beauty in of artists has included some who were unwill- nature, which is too often taken for granted ing to follow in the footsteps of their prede- (Figure 24.9, page 551). Oldenburg wanted cessors. Abstract Expressionist artists were viewers to stop and think about the products not immune to such challenges. Since 1960, of the industrial and commercial culture in their ideas have been challenged by a series of which they lived. He felt that people had new art movements worldwide. The loose come to rely too readily on these products painting technique and the emphasis placed and hoped to make viewers more conscious on personal expression, as seen in the work of of that fact. de Kooning, Pollock, Motherwell, and other Abstract Expressionists, were replaced by new styles. These new art movements included Op Art Pop Art, Op Art, Hard-Edge painting, and A new nonobjective art movement devel- Photo-Realism. oped in the after 1960. At about the same time, similar movements were evi- Pop Art dent in several European countries, including Germany and Italy. Op art was a style that A new art form emerged during the 1950s tried to create an impression of movement on in . There a group of young artists the picture surface by means of optical illu- broke new ground with made of sion. In traditional paintings, the aim was to pictures clipped from popular magazines. Collages, of course, were not new. Cubist, Dada, and other artists had used this tech- nique earlier, but for different reasons. These British artists combined pictures of familiar household objects, such as television sets, vacuum cleaners, and canned hams, to sug- gest that people were letting the mass media, especially advertising, shape their lives. Their art included all media and was called Pop art, because it portrayed images from the popular culture. Pop art made its way to the United States during the 1960s. American Pop artists such as examined the contemporary scene and reported what they found without satire or criticism. Warhol and other pop artists did, however, present images of Coke bottles and Campbell’s soup cans in new ■ ways or in greatly enlarged sizes. They FIGURE 24.15 Included in Oldenburg’s list of monumental projects is a 45-foot clothespin in a city square in Philadelphia and a nearly wanted to shake viewers out of accustomed 100-foot tall baseball bat in Chicago. What did Pop artists hope to ways of looking at the most trivial trappings accomplish with their works? of modern life. Pop artists such as treated Claes Oldenburg. Giant Three-Way Plug. 1970. Cor-Ten steel and polished bronze. Overall 154.6 198.1 306.4 cm (60 7⁄8 78 120 5⁄8). Allen Memorial Art Museum, Oberlin ordinary objects found in the manufactured College, Oberlin, Ohio. Gift of the artist and Fund for Contemporary Art, 1970.

Chapter 24 Modern Art Movements to the Present 555 draw the viewer into the work. In contrast, Op pictures seem to vibrate and reach out to the viewer. One Op artist, (Figure 2.5, page 30) used gradual changes of color and wavy lines to add a sense of movement to her paintings. The effect is a surface that seems to swell out in some places and fade back in others. Israeli-born artist Yaacov Agam, known as Agam (ah-gahm), went even further, creating multiple images within the same work. He used rows of thin, fixed strips that project from the surface of his painting in vertical rows (Figure 24.16). Agam painted the sides ■ FIGURE 24.16 Op artists used optical illusion to create an impres- of these strips differently from their tops and sion of movement. How does this artist achieve that effect? from the spaces in between. In this way the Agam (Yaacov Agam). Double Metamorphosis II. 1964. Oil on corrugated aluminum, in artist combined several in a single eleven parts. 2.69 4.02 m (8101321⁄4). The Museum of Modern Art, New York, New York. Gift of Mr. and Mrs. George M. Jaffin. work. The one you see depends on your posi- tion when viewing the work. When you change your position, the design changes.

Hard-Edge Painters Another group of artists who gained promi- nence are known as Hard-Edge painters, because they placed importance on the crisp, precise edges of the shapes in their paintings. Their works contain smooth surfaces, hard edges, pure colors, and simple geometric shapes, and are done with great precision. Typical of Hard-Edge painters is Frank Stella.

Frank Stella (1936– ) In works like Lac Laronge IV (Figure 24.17), Stella used an assortment of precise shapes painted with intense colors to create a vivid ■ FIGURE 24.17 Stella’s painting features crisp lines that look like visual rhythm. Thin white lines, actually the they were drawn with a ruler, and precise shapes painted with intense unpainted white of the canvas, help define and unshaded colors. What has the artist done to create a sense of shapes and set off their perfectly even colors. movement in certain directions? Can you identify the directions of that movement? The curving white lines, along with large, repeated, protractor-like shapes, give the Frank Stella. Lac Laronge IV. 1969. Acrylic polymer on canvas. 274.7 311.5 cm work a sense of harmony. The curved lines (108 1⁄8 162). Toledo Museum of Art, Toledo, Ohio. Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey. 1972.4. © 2004 and shapes, together with the circles they Frank Stella /Artists Rights Society (ARS), New York. delineate, boldly contrast with the rectangular shape of the overall composition and add variety. The result is a composition that is a visually interesting, harmonious whole.

556 Unit Seven Art of the Modern Era Photo-Realism One of the leading art styles of the 1970s was Photo-Realism, a style so realistic it looked photographic. Its near- instant success may have been due to the exaggerated homage it paid to the lit- eral qualities—the same literal qualities that abstract and nonobjective artists had rejected earlier.

Alfred Leslie (1927– ) Photo-Realists such as Alfred Leslie turned away from and looked to the past for models. For Leslie, the was Caravaggio. He emulated that artist’s style to paint huge works with a modern flavor. In 7 A.M. News (Figure 24.18), Leslie shows a lone woman holding a newspaper that appears to contain only photographs. On a table next to her, another picture flickers on a television set. As in Caravaggio’s painting of The Conversion of St. Paul (Figure 19.7, page 425), light plays an important symbolic role in Leslie’s picture. A heavenly light flashes across the fallen figure of St. Paul in the earlier painting, while the harsh, artificial light of the television illuminates the woman’s face in the modern work. In Caravaggio’s work, the central fig- ■ FIGURE 24.18 This artist turned to seventeenth-century works to find inspi- ure hears a message shouted from the ration for his large paintings that gloried in realism. Notice that there are no words written on the newspaper. What meaning do you attach to this? heavens. In Leslie’s painting, the mass media deliver news and information to Alfred Leslie. 7 A.M. News. 1976–78. Oil on canvas. 2.13 1.52 m (7 5’). , the woman seated at the table. She Philadelphia, Pennsylvania. appears to be ignoring both the news- paper and the television. Her eyes are raised heavenward. Aware, perhaps, that something important is lacking in the bland and repetitive messages she has been receiving from the mass media, she turns tentatively to a new source of infor- mation. Perhaps, like St. Paul, she hears a voice from above. In this case, the voice appears to come as a whisper rather than a shout.

Chapter 24 Modern Art Movements to the Present 557 Audrey Flack (1931– ) Audrey Flack’s complex, highly detailed still-life paintings often surpass the level of reality found in photographs. In her painting Marilyn (Figure 24.19), she offers a crisply defined, richly complex still-life arrangement that testifies to the fleeting nature of fame and glamour. Included in the array of objects that clutter the top of a dressing table are a calen- dar, a watch, an egg timer, and a burning candle—reminders that time runs out for everyone. Beauty, both natural (the rose) and artificial (the makeup), is no match for the persistent assault of time.

Andrew Wyeth (1917– ) Although he is not regarded as a Photo- Realist, Andrew Wyeth (wye-uth) is noted for paintings in which careful attention is directed to the literal qualities. It would be a ■ FIGURE 24.19 Many items shown in this work remind the viewer of the fragility and brevity of life. Compare this painting with mistake, however, to think of his works as Salvador Dali’s The Persistence of Memory (Figure 24.4, page 547). merely photographic. They are much more. In What do these two works have in common? his paintings, Wyeth tries to go beyond show- ing what people or places look like. Instead, Audrey Flack. Marilyn. 1977. Oil over acrylic on canvas. 243.8 243.8 cm (96 96”). Collection of the University of Arizona Museum of Art, Tucson, Arizona. Museum he tries to capture their essence. purchase with funds provided by Edward J. Gallagher Jr. Memorial Fund. Like his father, the well-known illustrator N. C. Wyeth, he feels that artists can paint well only those things they know thoroughly. To acquire this knowledge, an artist must live with a subject, study it, and become a part of it. In 1945, Andrew Wyeth’s father was killed in an automobile-train accident. No doubt he thought of his father constantly in the months following his death, particularly when hiking across the Pennsylvania countryside they once roamed together. His paintings of that country- side seem to reflect his grief and loss. Typical of those works is Winter, 1946 (Figure 24.20), painted a year after his father’s death. In this painting, a solitary boy runs down a hill. This particular hill appears in many of Wyeth’s best- known works. The place where his father died ■ FIGURE 24.20 Although his father had him work for a time with oil paints, Wyeth was never comfortable with them, preferring is on the other side of this hill, in the direction instead to work with egg tempera. Describe the colors used here. from which the boy in the painting is running. Do these colors suggest warmth or coldness?

Andrew Newell Wyeth. Winter, 1946. 1946. Tempera on board. 80 122 cm (31 3⁄8 48). North Carolina Museum of Art, Raleigh, North Carolina. Purchased with funds from the State of North Carolina.

558 Unit Seven Art of the Modern Era Painting in Canada: A Passion for Nature Modern Canadian art can trace its origins to 1920 and a small group of landscape painters working in Toronto. These painters eventually came to be known as the Group of Seven. The paintings of this group did much to direct public attention away from a cautious acceptance of European styles by exposing viewers to a unique Canadian art style. The work of the Group of Seven played an important role in the career of Emily Carr, who became Canada’s best-known early mod- ern artist. Carr studied in San Francisco before traveling abroad to perfect her painting skills in London and Paris. She possessed a passion for the wonders of nature and tried to com- municate that feeling in her pictures. In the painting in Figure 24.21, Carr portrays a tree, a red cedar, with the same kind of reverence other artists show when painting religious subjects. Joined by other trees in the forest, the cedar stands like a stout column in a medieval cathedral. It waits silently, ready to offer consolation or sanctuary. Painted with bold vertical lines, spiraling forms, and intense color, Carr’s work allows us to share her highly personal, spiritual vision of nature. ■ The paintings created by Emily Carr her- FIGURE 24.21 At one point in her career, Carr almost gave up painting until she saw the works of the Group of alded a period of artistic activity in Canada Seven in Toronto. This inspired her to paint with renewed that continues to grow in diversity and qual- energy and determination. How are variety and harmony ity. Today her paintings rank among the most treated in this work? admired in Canadian art, and she has been Emily Carr. Red Cedar. 1931–33. Oil on canvas, 111 68.5 cm (43.7 26.9). hailed as a national heroine. Art Gallery, Vancouver, Canada. Gift of Mrs. J.P. Fell, VAG 54.7

Painting Today Artists today work in an ever-increasing David Hockney (1937– ) variety of styles, from realistic to nonobjec- Regarded as the best-known British artist of tive, employing media and techniques that his generation, David Hockney combines were unheard of only a few years ago. In their , , and painting to create works search for new means of expression, some based on his own experiences and opinions. artists have created works that blur the line Around 1963, Hockney made the first of sev- between painting and sculpture. Although it eral trips to , where he began would be impossible to examine all these interpreting the California landscape using artists, a sampling is offered as a means of the colors of van Gogh and Matisse, the spon- demonstrating the amazing diversity that taneity of Picasso, and the shallow space of characterizes the contemporary art world. Chinese landscape paintings.

Chapter 24 Modern Art Movements to the Present 559 Large Interior—Los Angeles as a sculptor when she shapes, overlaps, and ■ FIGURE 24.22 joins three-dimensional canvases. She assumes Typical of Hockney’s later works is Large the role of painter when she adds color to these Interior—Los Angeles (Figure 24.22), which forms. Although her finished works may look hints at his considerable success as a stage accidental and haphazard at first glance, designer. Furniture, patterns, and details are Murray spends months designing, arranging, arranged in a brightly illuminated, spacious and painting the pieces used in a single work. interior that suggests a relaxed, unhurried Typical of Murray’s mature work is the bril- way of life. Chairs of every kind conveniently liantly colored Painter’s Progress (Figure 24.1, await anyone who might want to read a book, page 544), composed of 19 pieces. Although listen to music, or discuss the affairs of the the work is abstract, most viewers can easily day. Clues to these kind of activities abound, identify the simplified images that show the like props on a stage. Nothing disturbs the tools of the painter: a large palette with quiet serenity of this setting, viewed as if the brushes and, of course, the hand needed to stage curtains have just parted. One almost manipulate them in the creation of art. expects a performer to enter at any moment, heralding the opening of the first act. Judy Pfaff (1946– ) If works by Murray challenge the long- Elizabeth Murray (1940 – ) standing line separating painting and sculp- Since the 1970s, Chicago-born Elizabeth ture, the creations of Judy Pfaff erase it Murray has been creating works consisting of completely. several sections grouped together to form Born in London, Judy Pfaff received her art shattered images that bring to mind the training in the United States and was an Cubist paintings of Braque and Picasso. abstract painter until 1971. At that time, she Painted on shaped canvases, Murray’s large, began to question the notion of confining her abstract works sometimes consist of as many images to a flat canvas or forming them in as 20 separate pieces, making them part paint- some three-dimensional medium that one ing and part sculpture. Indeed, the artist acts walks around to examine.

■ FIGURE 24.22 Hockney achieved international acclaim as an artist when he was still in his 20s. Compare this painting with Matisse’s Red Studio (Figure 23.2, page 517). How are these two works alike? How do they differ?

David Hockney. Large Interior—Los Angeles. 1988. Oil, ink on cut and pasted paper, on canvas. 183.5

305.4 cm (72 1⁄4 120 1⁄4). The Metropolitan Museum of Art, New York, New York. Purchase, Natasha Gelman Gift, in honor of William S. Lieberman, 1989. (1989.279)

560 Unit Seven Art of the Modern Era Abandoning the time-honored method of easel painting, Pfaff began to use the walls, floor, and ceiling of an entire room from which to suspend colorful shapes created with a variety of media and found objects of every kind. Known as installations, these mixed-media environments are like a three- dimensional Abstract Expressionist painting that viewers can actually walk through (Figure 24.23). Implied movement is provided by brightly colored objects that seem to spring out at viewers from every angle. Real move- ment is supplied by the viewers themselves, as they slowly advance and observe these objects from constantly changing points of view. As viewers move into the installation, their gaze sweeps in every direction—above, below, behind, and in front—and they begin to experience a sense of uneasiness associated with not knowing exactly where they are or what they are seeing. Divorced from reality, the imagination comes fully into play, making the experience unique and intensely personal ■ FIGURE 24.23 In an effort that often requires weeks for each viewer. of hard work, Pfaff fills an entire gallery with her magical Unfortunately, Pfaff’s large installations at installations. Explain how it is possible to compare the galleries and are not permanent. way this installation was constructed with the way Jackson Pollock created his paintings (Figure 24.12, Once they are dismantled, they endure only in page 553). What must one do to completely experience the memories of those fortunate enough to an installation like this? have experienced them. Judy Pfaff. Dragons. 1981. Mixed media. Installation view at the 1981 Biennial at the Whitney Museum of American Art, New York, New York.

LESSON ONE REVIEW Reviewing Art Facts 1. Identify Name the art movement that came out of a sense of disillusionment Community-Based Artworks Artists continue to produce and a belief that European culture new and exciting works in new and traditional styles. Some made no sense. artists have created works that defy traditional categories. 2. Recall What did the Surrealists use as The installation art of Judy Pfaff and the a source of subject matter for their on page 566 are examples. unique art style? Activity Choose a suitable indoor or outdoor location for a 3. Define Describe the movement work of installation or environmental art. Working in small called Abstract Expressionism. groups, create a site-specific plan for the work. Present the 4. Explain What is Pop art? What did plans and choose one group’s plan. Gather appropriate Pop artists hope to achieve with their found-object materials and create the work. Invite the style of art? school and community to a viewing of the finished product.

Visit art.glencoe.com for study tools and review activities. Chapter 24 561 LESSON TWO Innovations in Sculpture and Architecture

Vocabulary he twentieth-century search for new forms was not limited to ■ assemblage T painters. Sculptors in Europe and North America were engaged in ■ mobile the same quest. Some of these artists felt that they had to break away from ■ environmental art their dependence on subject matter if they were to succeed in expressing themselves in fresh ways. Others remained faithful to Realism, pushing Artists to Meet the boundaries of that style into new territory. Although many continued ■ ■ to use traditional materials and techniques, an adventurous few reasoned ■ that their creative efforts could be aided by the new materials and tech- ■ Louise Nevelson niques being developed by modern technology. ■ ■ Allan Houser ■ Sculpture and the Search for New Forms ■ Christo ■ Many sculptors moved away from realism to create abstract and non- ■ objective sculptures. The focus of their work was now on the formal ele- ■ Frank Lloyd Wright ments and principles of art. Sculptors such as Jacques Lipchitz, Henry ■ Maya Lin Moore, and Barbara Hepworth were ■ among the leaders of the new style. ■ Charles Moore ■ Jacques Lipchitz Discover After completing this lesson, (1891–1973) you will be able to: Some sculptors, including ■ Describe the abstract and Jacques Lipchitz (zhahk lip-sheets), nonobjective works created by were influenced by the new move- twentieth-century sculptors. ■ Identify trends in architecture ments in painting. Lipchitz arrived since the middle of the twentieth in Paris from his native Lithuania in century. 1909. Soon after, he was attracted ■ Describe Postmodern architec- to the ideas of Cubism. His Sailor ture and identify important with Guitar (Figure 24.24) was Postmodern architects. done in the Cubist style. It is a three- dimensional form with the same kinds of geometric shapes found in paintings by and . Flat surfaces of dif- ferent shapes were placed at various ■ FIGURE 24.24 Soon after arriving in angles to one another to suggest a Paris from his native Russia in 1909, Lipchitz became involved with the ideas of Cubism. jaunty sailor strumming his guitar. Identify features that show the influence of Cubist paintings on this sculpture.

Jacques Lipchitz. Sailor with Guitar. 1914. Bronze.

78.7 29.5 21.6 cm (31 115⁄8 8 1⁄2). Philadelphia Museum of Art, Philadelphia, Pennsylvania. Given by Mrs. Morris Wenger in memory of her husband. © Estate of Jacques Lipchitz/Licensed by VAGA, New York, New York.

562 open mind each time he started a new work. Henry Moore (1898–1986) If Moore chose to do a sculpture in stone, he Henry Moore sought to create sculptures first studied the block carefully from every that were completely unique and original— angle, hoping that it would suggest something images in stone, wood, and bronze that to him. Then, prompted by something he saw had never been seen before (Figure 24.25). or felt, he would take his hammer and chisel Because he had no desire to make copies of and begin cutting into the stone. things, he avoided using a model and kept an

Styles Influencing Styles HENRY MOORE AND BARBARA HEPWORTH Henry Moore’s search for new and unusual forms led him to cut holes, or openings, into his highly abstract sculptures. This was something that had never been done before. In his wood of a reclining figure (Figure 24.25), rounded abstract forms combine with openings to suggest a human image worn smooth by the forces of nature. Works such as this are Moore’s tribute to nature, which provided him with raw material and showed him how to transform that material into art. Like Moore, Barbara Hepworth was a student of nature. The two sculptors followed a similar path, opening up their sculptural forms by piercing them with holes and hollowing them out. A bronze figure completed in 1959 (Figure 24.26) illustrates how Hepworth used holes as a focus in her sculptures. Even though this work is abstract, it succeeds in suggesting an image and capturing a definite move- ment. With arms stretched upward, a dancer leans gracefully to one side; the dancer’s head is suggested by one of two holes.

■ FIGURE 24.25

Henry Moore. Reclining Figure. 1939. Elmwood. 94 200 76.2 cm (37 79 30). The Detroit ■ Institute of Arts, Detroit, Michigan. Founders FIGURE 24.26 Society Purchase with funds from the Dexter M. Barbara Hepworth. Figure (Archaean). 1959. Ferry, Jr. Trustee Corporation. Bronze. 215.9 129.5 30.4 cm (85 51 12). Endowment Association Art Collection. Edwin A. Ulrich Museum of Art. Wichita State University, Wichita, Kansas.

Chapter 24 Modern Art Movements to the Present 563 completed work represents a mixture of the familiar and the unfamiliar. Many parts are recognizable as odd pieces taken from furni- ture, whereas others appear to be scraps from old Victorian houses. What these parts once were is no longer important. Each now takes its place in a wall-size work of art that mysteriously brings to mind the façade of a medieval church with its sculptures tucked into their assigned niches.

Alexander Calder (1898–1976) Viewers are required to walk around the works created by most sculptors; however, the creations of Alexander Calder can be observed from a single vantage point. Because his sculp- tures move through space, viewers can remain stationary and still take in every detail. Marcel Duchamp invented a name for Calder’s unique creations; he called them mobiles. A mobile is a construction made of shapes that are balanced and arranged on wire arms and suspended from a ceiling or a base so ■ FIGURE 24.27 This assemblage presents a rich variety of contrast- ing angles and curves. How did Nevelson unify this composition? as to move freely in the air currents. This mov- What makes this work so unique? ing arrangement of sheet-metal shapes treats the viewer to constantly changing patterns of Louise Nevelson. Sky Cathedral. 1958. Assemblage: wood construction, painted black. colors and shapes. Unlike traditional sculpture, 3.4 3 .4 m (135 1⁄2 120 1⁄4 18). The Museum of Modern Art, New York, New York. Gift of Mr. and Mrs. Ben Mildwoff. these works appeal almost entirely to the sense of sight. The works are most effective when the wire arms and attached shapes begin to quiver, swing, and rotate in space. Although they are abstract and even nonobjective, many of Calder’s mobiles are based on natural forms—mammals, birds, Louise Nevelson (1899–1988) fish, or plants—and their movements are The nonobjective sculptures of Louise carefully planned to imitate natural action. In Nevelson offer an interesting contrast to the Pomegranate (Figure 24.28), shapes repre- works of minimalists like . Using a senting leaves and fruit turn and bob as if technique known as assemblage, a number of stirred by a gentle breeze. Imaginative and three-dimensional objects brought together to whimsical, Calder’s works breathe life into form a work of art, Nevelson created sculp- the same kind of fantasy world created by tures that confront the viewer with a rich Joan Miró and Paul Klee. variety of contrasting angles and curves. In Sky Cathedral (Figure 24.27), she care- fully assembled found objects and wood Allan Houser (1914–1994) scraps into shallow boxes of different sizes Whereas many contemporary sculptors and then stacked the boxes to make a large choose to work with abstract or nonobjective composition. To unify the composition, forms, others continue to work in a more real- she spray-painted it entirely in black. The istic style. One of these was Allan Houser. 564 Unit Seven Art of the Modern Era Houser’s father was the grandson of the chief, Mangus Colorado, and a relative of . Throughout his career, he directed his to interpreting the heritage of his people, capturing in each of his sculptures the enduring spirit of Native Americans. Watching for Dancing Partners (Figure 24.29) is a pink Tennessee marble carving of two Native American women standing side by side at a . Their smooth, polished faces contrast with the strands of long hair that encircle them. Over their shoulders they wear heavily textured shawls with fringes. These shawls add further textural contrast to the faces and long, smooth skirts. The textural similarities of the two women tie them together as effectively as do their positions next to each other. This carving is meant to be explored slowly with the eyes, so the viewer can appreciate the rich surface effects.

■ FIGURE 24.28 Calder was one of the early pioneers in creating artworks that actually moved. In what ways do Calder’s works resemble the paintings of Joan Miró and Paul Klee?

Alexander Calder. Pomegranate. 1949. Painted sheet aluminum, steel rods, and wire. 181

183.5 107.3 cm (71 1⁄4 72 1⁄4 42 1⁄4). Collection of the Whitney Museum of American Art, New York, New York. Purchase.

■ FIGURE 24.29 Houser’s most moving subjects are women and children. Identify the importance of texture in this sculpture. How has it been used?

Allan Houser. Watching for Dancing Partners. 1978. Pink Tennessee marble. 76.2 53.3 cm (30 21). Museum of the Southwest, Midland, Texas. Gift of Mr. and Mrs. Lynn D. Durham.

Chapter 24 Modern Art Movements to the Present 565 EnvironmentalA rt few contemporary sculptors have begun creating environmental art, Aoutdoor artworks that are designed to become part of the natural landscape.

1 One form of environmental art is an earthwork, in which the land itself is shaped into a gigantic sculpture.

2 Why do artists choose to create modern earthworks? Perhaps, as some suggest, they simply want to return to nature and use the earth itself as their medium. They also may be motivated by nothing more than a desire to work on a grand scale.

3 Robert Smithson (1938–1973), an American sculptor and experimental artist, created one of the best known earthworks, Spiral Jetty (Figure 24.30). This work consists of a huge ramp of earth and rock, 1,500 feet long, that curls out into a secluded section of Utah’s Great Salt Lake. It calls to mind the spirals found in nature. ■ FIGURE 24.30 Robert Smithson. Spiral Jetty. 1970. Great Salt Lake, Utah. 4 Because actual construction can be difficult, earth- works often fail to progress beyond the planning stage. If they are carried out, they are exposed to the destructive forces of nature, as in the case of Spiral Jetty. Intended as a permanent construction, Smith- son’s work today is barely visible beneath the rising waters of the lake. 5 A Bulgarian-born artist and a French- born artist known simply as Christo (1935– ) and Jeanne-Claude (1935- ) create another form of environmental art. They are the originators of wrapping art, which consists of covering familiar objects in canvas or plastic and rope.

6 One of Christo and Jeanne-Claude’s best known works is Running Fence (Figure 24.31). The work was an 18- foot-high white nylon fence that stretched across the hills and fields of northern California for 24.5 miles. It was erected by an army of paid work- ers using 165,000 yards of nylon and 2,050 steel posts in September 1976. Billowing in and out with the wind, its white surface reflecting the changing light of the sun at different times of the day, the completed fence appeared to stretch without end across the rolling countryside. ■ FIGURE 24.31 Christo and Jeanne-Claude. Running Fence, Sonoma and Marin Counties, 7 Running Fence remained standing for California, 1972–76. H: 5.5 m, L: 40 km (H: 18’, L: 24 1⁄2 miles). two weeks; then, as planned, it was dismantled. Today the fence exists only on film, photographs, and the artist’s preliminary drawings.

566 Unit Seven Art of the Modern Era Duane Hanson (1925– ) Architecture Since Duane Hanson’s lifelike portraits of people, the 1950s from camera-laden tourists to weary janitors, As the twentieth century passed the have sometimes surprised viewers who have halfway mark, the International style of archi- mistaken them for actual people. Hanson uses tecture, exemplified by such buildings as the fiberglass, vinyl, hair, and clothes to re-create Lever House (Figure 23.30, page 540), began the people we pass daily in the shopping mall, to lose its momentum. Uninspired and end- at a fast-food restaurant, or on the sidelines of less repetitions of the style in Europe and a football game (Figure 24.32). We might America prompted critics to charge that the smile at their bizarre costumes or their pecu- urban landscape was becoming monotonous liar behavior—until we realize that other peo- and boring. Architects, well aware of the criti- ple may be similarly amused at the way we cism, began to search for new forms and new dress and act. approaches.

■ FIGURE 24.32 Viewers often avoid staring too long at one of Hanson’s sculptures— thinking that it may indeed be real. What emotions or feel- ings do you associate with this work? How would you answer someone who criticized it as looking “too realistic”?

Duane Hanson. Football Player. 1981. Oil on polyvinyl. Life-size. 109.8 76.2

80 cm (43 1⁄4 30 311⁄2 ). Collection, , University of Miami, Coral Gables, Florida. Museum purchase through funds from Friends of Art and public subscriptions. 82.0024.

Chapter 24 Modern Art Movements to the Present 567 Doors are difficult to locate and, when finally Le Corbusier (1887–1965) found, lead to an interior mysteriously illumi- One of the most exciting of the new forms nated by randomly placed, recessed windows. is the Chapel of Notre Dame du Haut in south- The sunlight passing through the stained glass eastern (Figure 24.33). It was designed of these windows provides a pattern of col- in the early 1950s by a Swiss-born architect ored light on the walls, the only decoration named Le Corbusier (luh core-boo-see-ay). inside this unusual church. (His real name was Charles-Édouard Jeanneret.) Gone are the boxlike forms of the International style; they have been replaced by massive walls that bend and curve like slabs of Frank Lloyd Wright soft clay. The addition of a rounded, billowing (1867–1959) roof results in a building that is both architec- Frank Lloyd Wright began his architectural ture and sculpture. It reminds viewers of the career in ’s firm. After five curving architectural forms of Antonio Gaudi years, he left the firm to strike out on his own, (Figure 23.26, page 537) and the abstract fig- but he never forgot his debt to his mentor. ures of Henry Moore (Figure 24.25, page 563). From Sullivan, Wright learned about new At the same time, the building suggests the building materials, such as concrete and steel. strength and durability of a medieval fortress. Wright’s innovative structural designs and

■ FIGURE 24.33 This building rep- resents a clear departure from the boxlike forms of the International style. In what ways does this struc- ture resemble a sculpture? What qualities do you associate with this building—delicacy and charm or solidity and strength?

Le Corbusier. Chapel of Notre-Dame-du-Haut. Ronchamp, France. 1950–54. © 2004 Artists Rights Society (ARS), New York/ADAGP, Paris/FLC.

568 Unit Seven Art of the Modern Era ■ FIGURE 24.34 Wright died six months after the Guggenheim Museum opened; he was 90 years old. How does this museum differ from more traditional museums? What would you identify as its most unusual feature? Do you consider it to be a successful design? Why or why not?

Frank Lloyd Wright. Solomon R. Guggenheim Museum. New York, New York. 1956–59. © 2004 Frank Lloyd Wright Foundation/Artists Rights Society (ARS), New York. unique use of building materials would shape Some viewers have claimed that the outside his entire career. of the building looks like a giant corkscrew Wright designed more than 600 buildings or a cupcake. during his long career. Among them were Wright wanted to create a museum in private homes, office buildings, factories, which a single continuous ramp spiraled churches, and hotels. The Imperial Hotel he upward. He did not care for the mazelike built in Tokyo met a special test; it withstood collections of square or rectangular rooms the great earthquake of 1923. That triumph found in traditional museums. Instead, he helped cement Wright’s reputation as one of designed a single, round, windowless room the greatest architects of the century. almost 100 feet in diameter. Around this room he placed a continuous ramp. Visitors can either walk up the slight grade or take an Solomon R. Guggenheim Museum elevator to the top and stroll down to the ■ FIGURE 24.34 ground level. In either case, the gently curv- Wright’s most controversial building is ing ramp allows visitors to walk slowly and the Guggenheim Museum (Figure 24.34), a thoughtfully past the artworks that hang on gallery for modern art in . the walls.

Chapter 24 Modern Art Movements to the Present 569 Maya Lin (1960– ) Although it is difficult to identify as either a building or a sculpture, the Vietnam Memorial has the emotional impact and the originality of expressive form that make it an important work of art. The story of this monument begins in 1980, when Congress authorized a two-acre site for a memorial honoring Americans who had died in the Vietnam War. When Maya Lin, then an architecture student at , first visited the site, she wanted to cut open the earth as a way of suggesting the violence of war. Lin’s design for the monument—one of 1,400 submitted—was selected by a jury of ■ FIGURE 24.35 The mirrorlike surface of the black granite reflects international artists and designers. On trees, lawns, and other monuments. How does this monument help viewers understand the terrible cost of war? November 13, 1982, the Vietnam Veterans Memorial was dedicated. Maya Lin. Vietnam Veterans Memorial, Washington, D.C., 1982. Design of the Vietnam Veterans Memorial Maya Lin’s design is a V-shaped black gran- ite wall (Figure 24.35). The tapering segments of this wall point to the Washington Monument in one direction and the Lincoln Memorial in the other.

SPACE WALK. Astronauts, protected with special suits and life support systems, travel outside spacecraft to perform experiments and study the earth from a dis- c. 1950 2000 tance to monitor changes and learn about our planet. Modern Era

See more Time & Place events on the Time Line, page H11 in your Art Handbook

EARLY COMPUTERS. As early as Activity Speculation. You are 1946, researchers at the University walking in space, looking back down to of Pennsylvania built the first pro- earth. What are your reactions to where grammable computer, known as you are and where you have been. Con- the ENIAC. Each transistor was sider the changes in the past 20 years. placed inside a vacuum tube. Describe what you imagine life will be like at the end of the next 20 years.

570 Unit Seven Art of the Modern Era The wall consists of 1,560 highly polished ■ FIGURE 24.36 panels, each 3 inches thick and 40 inches Graves was the first to design wide. The panels vary in height. The names buildings that of nearly 60,000 dead or missing American combine art, servicemen and servicewomen are listed on ornamentation, these panels. They are listed chronologically and symbolism. In what ways in the order of their deaths or disappearances. does this build- In order to read the names, visitors must ing differ from descend gradually into the earth and then, the Lever House just as gradually, work their way upward. (Figure 23.30, page 540)? How The monument neither preaches nor assigns is it similar? blame. Instead, through its extraordinary under- statement, it succeeds in touching the emotions Michael Graves. Public Service of viewers—more than 10,000 each day. Building. Portland, Oregon. 1980–82. City of Portland Archives. By the early 1980s, increasing disenchant- ment with architecture’s glass-box look made it apparent that a change in direction was needed. This change was soon realized in a new style known as Postmodernism. Architects who embraced this new style rejected the formal simplicity and clean lines of the International style in favor of designs Like most Postmodern structures, the Public that were dramatic, daring, and unique. Service Building evokes varying reactions from While continuing to use the same steel-cage critics and from the public. Some claim that construction methods popularized by the Postmodern buildings are bold and imaginative, International style, they began to incorporate while others regard them as unattractive archi- decorative features borrowed from other, ear- tectural misfits. No one can deny, however, that lier styles of architecture as well. they are pleasant—even fun—to look at. That is not a claim that could be made for most build- ings designed in the International style. Michael Graves (1934– ) One of the first and most impressive exam- ples of Postmodern architecture in the United Charles Moore (1925–1993) States is the Public Service Building located in One of the most striking examples of Post- Portland, Oregon, designed by Michael Graves is Charles W. Moore’s (Figure 24.36). Here color, decoration, and Piazza d’Italia (Figure 24.37, page 572), symbolism are all displayed on a grand scale. designed to breathe new life into a struggling Colored in green, beige, and brown, the build- neighborhood in . Intended as a ing is decorated along the sides with a frieze center for community social activities, it is of stylized fiberglass garlands. A gigantic constructed on a circular site that has long painted Egyptian keystone adorns the facade. served as the location for an annual neighbor- Drawing freely from the vast vocabulary of hood festival. historical styles in architecture, Graves con- Because most of the inhabitants of this structed a building that stands out boldly part of the city are of Italian decent, Moore from the impersonal concrete and steel boxes designed a colorful American version of a typi- that are crowded around it. cal Italian piazza. Classical Greek and Roman

Chapter 24 Modern Art Movements to the Present 571 concentric circles and rows of columns that direct the eye to a raised, semicircular walled space. This resembles the kind of apse found in medieval churches; it functions as a speaker’s platform during the annual festivals. Come nightfall, the colored lights illuminate metal, marble, and colored stone, and are reflected in a pool of water calling to mind the Mediterranean Sea. Colorful, imaginative, exciting, gaudy, and excessive—these and many more adjectives have been applied to Moore’s piazza.

Frank Gehry (1929— ) Renowned architect Frank O. Gehry was born and raised in Toronto, Canada. His family moved to Los Angeles where he studied archi- tecture at the University of Southern California. He then studied city planning at the Graduate School of Design at Harvard University. Gehry focused his creative energies and established his own architectural firm. Over several decades he has applied his artistic and design skills to produce public and private buildings in cities all over the world. He has received numerous awards for his work, which is always innovative and often contro- versial. His sculptural forms add surprising ■ FIGURE 24.37 Moore has praised Disneyland as one perspective and complexity to the buildings of America’s most impressive public areas. In what ways does he designs. Gehry’s work demonstrates a this piazza reflect the architect’s appreciation for Disneyland? sensitivity to the ways people move through Charles Moore. Piazza d’Italia. New Orleans, Louisiana. 1976–79. buildings. One of Gehry’s better-known works is the architectural features and symbols blend with Guggenheim Museum in , Spain. The others that owe their inspiration to graceful building composed of complex, flow- and the . Geographical references to ing shapes blends into its riverside setting. Italy and Sicily are found at every turn. Even Visitors, who are at first surprised by the exte- the pavement is inlaid with a map of Italy, rior, find the interior organization provides a with Sicily prominently identified. Twentieth- harmonious flow within the galleries and century innovations are represented in the complements the artworks housed in the form of stainless-steel columns and capitals museum. Another work, the Experience and multicolored neon lights that accent the Music Project in Seattle, Washington, is con- most important architectural details. structed with thousands of titanium and stain- In addition to an elaborate , the cen- less steel panels. The different shapes were tral portion of the structure features steps in inspired by broken parts of a guitar.

572 Unit Seven Art of the Modern Era Disney Hall ■ FIGURE 24.38 Dedicated in October, 2003, Gehry’s design for the Walt Disney Concert Hall transformed the Music Center of Los Angeles by offering a new venue for the performing arts. The build- ing’s exterior is reminiscent of a ship with gleaming hull. The wooden interior and curved ceiling, designed for acoustic perfec- tion, gives a feeling of billowing sails. Gehry worked closely with acoustics engi- neer Yasuhisa Toyota to be certain that the hall’s interior shapes and surfaces would enhance the sound of the pipe organ and orchestra. Seating in the concert hall sur- rounds the stage and orchestra area. The design’s success can be attributed to ■ FIGURE 24.38 the technical approaches developed by Because this structure Gehry’s firm. Using computer-aided, three- is used as a performing arts center, the archi- dimensional modeling programs, the artist tect considered the took the opportunity to create a design that acoustic qualities as incorporates complex, imaginative design well as design qualities as he planned the elements with the technical acoustic require- building. How did ments of the concert hall. The result—a soft technology aid Gehry ■ FIGURE 24.39 Disney Hall (interior). whisper spoken from the stage can be heard in the planning of in a side balcony seat 50 yards away. this building?

Frank Gehry. Walt Disney Concert Hall. 2003. Los Angeles, California.

LESSON TWO REVIEW Reviewing Art Facts 1. Explain Why did Henry Moore avoid using models for his sculptures? and Aesthetics Review the theories of art 2. Describe What distinguishes the discussed in Chapter 4: imitationalism, formalism, or emo- sculptural technique used by Louise tionalism. Write the name of one of the theories on an Nevelson? index card. Place these cards in a box and pass it around 3. Recall Who designed the your group so that each person can select one. Guggenheim Museum in New York? Activity Select an artwork from this chapter that possesses 4. Explain What distinguishes the aesthetic qualities stressed by the theory written on Postmodern buildings from those your card. Discuss the work in your group. Write an entry designed and constructed earlier? in your journal in which you identify the selected and describe the aesthetic qualities favored by that theory in the artwork you chose.

Visit art.glencoe.com for study tools and review activities. Chapter 24 573 LESSON THREE Digital Art Forms

Vocabulary rtists have always been fascinated by the effects of light. Light is ■ analog format A reflected on surfaces from a range of sources—indoors or out- ■ digital system doors—and during different times of day and seasons of the year. This ■ fractals human attraction to light has led to the development of art forms that go ■ draw programs beyond two-dimensional paintings. Light sculptures include Chryssa’s ■ paint programs work with changing patterns of light (Figure 3.33, page 72) and ’s , In Honor of Harold Joachim, shown in Figure 24.40. Artists to Meet ■ Dan Flavin ■ Jerry Uelsmann ■ Sonia Landy Sheridan as an Art Form ■ David Em A discussion of light and light media begins by considering innovative ways artists use photography, video, and digital media to create artworks. Discover Chapter 3 introduced you to photography and video media, as well as the After studying this lesson, you early development of digital media and computers to create art. will be able to: Photographers such as Alfred Stieglitz and Ansel Adams perfected ways ■ Trace advances in technology to capture light using the tools at their disposal. Review examples of their and the development of digital works in Figures 3.19 and 3.20 on page 63. Photography was once difficult art media. and cumbersome to use. Technology has brought photography into the ■ Discuss the impact of technology computer age. on contemporary art. ■ Identify specific types of software and describe how each is used.

■ FIGURE 24.40 Flavin’s installation is an example of ways artists work creatively with light. How do you think working with light as a medium is a step toward the development of digital technology?

Dan Flavin. Untitled (in honor of Harold Joachim). 1977. Pink, yellow, blue, and green fluorescent light. 224 cm (8) square across a corner. Photo: Billy Jim. Dia Center of , New York, New York. Courtesy, Collection Dia Art Foundation.

574 ■ FIGURE 24.41 Uelsmann produced this image by manipulating a still pho- tograph in the darkroom. How does its composition make this an interesting work?

Jerry Uelsmann. Untitled. 1969. Silver gelatin print. Art Institute of Chicago, Chicago, Illinois. Restricted gift of The People’s Gallery. 1971.558.

Video as an Art Form From Video to Digital Art Video and digital art have changed the way When cameras became easy to use, readily artists work with light in space and time. available, and inexpensive, they dramatically Video is simply a series of still images that changed art. Artists were empowered to freely creates a sense of depth, movement, and the explore their personal thoughts and feelings. fourth dimension—the passage of time. Today, photography, video, and graphics, Originally, a strip of film was used to capture linked by computers, have expanded our and record images. Soon came the develop- potential for self-expression by allowing us to ment of videotape that is based on an analog quickly generate multiple ideas, create solu- format, a nondigital system that embeds elec- tions, and mix varied media. The ability to tromagnetic impulses from varying wave- digitally combine drawing, text, sound, and lengths onto sensitized tape, film, or other movement engages our senses, thus making storage unit. the medium interactive. Initially, like photog- The video format evolved to digital, which raphy and video, the expense and complexity not only produces crisper, sharper images but of technology limited digital art to a few also expands editing tools and possibilities. resourceful artists who collaborated with large While the older analog system relies on wave- corporations that provided access to the latest lengths and electronic impulses, a digital sys- powerful equipment. We will consider several tem uses a binary system that processes words artists, mathematicians, and scientists who and images directly as numbers or digits. The helped forge the path of art technology. benefit of digital video is that it can be imported Artists enjoy pushing limits and making into a computer where it can be altered, refined, novel discoveries. The manipulated images and shared with others on the Internet or that Jerry Uelsmann (Figure 24.41) created recorded onto a CD-ROM or tape, either digital in his darkroom were the early ancestors of or analog, for a variety of purposes. today’s digital cameras and editing software.

Chapter 24 Modern Art Movements to the Present 575 were able to photograph, video, draw, and Sonia Landy Sheridan morph images as well as alter colors. (1925– ) Another trailblazer was Sonia Landy Sheridan, who began experimenting with Digital Software emerging technology in the sixties with a Development color photocopier. Trained in traditional media, she taught at the School of the Art As early as the 1950s, artists such as Institute of Chicago. There she experimented Herbert Franke and Ben Laposky experi- with many kinds of media, especially new mented with analog computers. The tech- technology, researching ways it could be used niques they used were converted onto digital as an art tool. She established a new field at computers and have been part of their lan- the institute called Generative Systems. guage ever since. Sheridan’s philosophy of combining art, science, and technology shaped her artistic Two-Dimensional Computer direction (see Figure 24.42). One experiment Drawing led to the earliest form of computer graphic Originally, computer drawings were made software and some familiar features of today’s with a plotter. A plotter is a small ink-bearing programs. Working with a former student, wheel that moves and draws a line on paper John Dunn, she produced software that took based on mathematical instructions pro- advantage of a “bug” in a video program grammed into a computer. These were usually allowing them to manipulate video. They black-and-white line drawings best suited for architectural or interior design. Based on mathematical formulas, plotter drawings led to today’s vector or “object oriented” drawing software. Experimental artists worked with video and computer engineers to develop painterly software based on dots of light, or pixels. This resulted in bitmapped software.

Three-Dimensional Visual Environments Advances in technology revolutionized the way artists work with space and how they cre- ate and manipulate three-dimensional forms. Using light as an element on a computer, artists can create art forms and shapes just as painters do. Most importantly, artists who made major contributions to the development of software worked first in traditional media.

■ FIGURE 24.42 Sheridan’s experimental computer work resulted in the ability to play with color and balance in creative ways. What features can you identify in this composition?

Sonia Landy Sheridan. Sonia. 1982 EASEL software; Cromemco Z-2D hardware; black and white video Painting face in color with a b/w camera and cycling. © Sonia Landy Sheridan. 1997.

576 Unit Seven Art of the Modern Era controls of this system. Within one hour Em David Em (1952– ) created his first computer image, painting with Trained as a painter, David Em is an elec- an electronic stylus. His brushstrokes created tronic media artist known for his imaginary vibrant colors on the screen. The program he 3-D landscapes that reside within a computer used, created by Smith, was called Superpaint. monitor. Em’s mother was an artist. As a Em combined his interests in sculpture, youth, he drew for pleasure, read about art architecture, and painting. He created imagi- and artists, and visited museums. Later he native alien worlds from geometric shapes studied painting in Philadelphia, where he that repeat, change size, stretch and shrink, met two chemists who showed him ways to have texture, and show light and shadow. control acrylic paints for his highly textured Like an Escher drawing, as the title for Figure 3-D surfaces. Eventually Em produced tex- 24.43 indicates, Em’s art makes one feel able tured plastic sculptures that he considered to travel through his surreal, mysterious set- 3-D canvases composed with light. tings. Presently, Em continues to work with One day he found an old, discarded color computers using commonly produced art soft- TV and began to experiment with the knobs ware and every imaginable desktop tool he that control hue, saturation, and brightness. can find—from scanners to digital cameras He produced a range of extraordinary colors. and video. Em shared his results with electronic engineer Larry Templeton, who designed and produced video image processing systems. This allowed Fractals the artist to create electronic paintings on tele- In 1981, the personal computer was devel- vision screens. oped. By the mid-1980s, computers were Still dissatisfied with the lack of control affordable and had “user friendly” software. over color, Em met Alvy Ray Smith, a com- Artists began using digital darkroom software. puter scientist working on a method to control In the meantime, Benoit Mandelbrot, a French the hue, saturation, and brightness of every researcher, created the study of nonlinear dot on a monitor screen. Before Em, no one systems, called fractal geometry. Fractals are with a fine arts background had sat at the geometric structures that have a regular or

Explore fractal environments in Web Links at art.glencoe.com.

■ FIGURE 24.43 Em worked as an Artist in Residence at NASA’s Jet Propulsion Lab in Pasadena, California, in 1977, where he produced this work. Describe the way this work makes you feel. How is it a successful artwork?

David Em. Escher 1979. Cibachrome print of digital image. 76.2 101.6 cm (30 40). Private collection. © David Em.

Chapter 24 Modern Art Movements to the Present 577 ■ FIGURE 24.44 This work combines digital photography and image manipulation software to create a surreal landscape. What mood or feeling do you experience when viewing this artwork?

Philip Wallick. The Tide of Time.

uneven shape repeated over all scales of Magritte, Latham uses a programming tech- measurement and a dimension determined nique called recursion. He selects an initial by definite rules. With the aid of computer object, created mathematically, and then the graphics, Mandelbrot found ways to display program automatically creates eight mutated complex and beautiful fractal designs. To siblings of the object. Latham developed tech- accomplish this, he developed a mathematical niques that opened the door to more possibili- concept known as the Mandelbrot set. The ties, allowing artists to manipulate images result was the creation of the first computer using computer programs. The digital art in programs able to print graphics. Figures 24.44 and 24.45 are examples of the new directions this art form has taken. Organic Art and Art and Digital Software Early Animation In the twenty-first century, computers are After Mandelbrot published his detailed as common in homes and schools as tele- studies of fractal algorithms, the organic art phones and televisions. As a communication movement began. William Latham, an tool, the computer can be used to compose English printmaker and sculptor, was working and send messages with text, sound, still at IBM laboratories. With a team of program- images, video, and animation. Software mers and researchers, he developed a unique developers no longer work in isolation, so 3-D computer graphic system that mathemati- programs are more intuitive and have stan- cally changes forms and animates them. He dardized menus, commands, and icons. calls his work 3-D computer sculptures Symbols represent tools and shortcuts. Once because they live in cyberspace and mutate you are familiar with one kind of software, in virtual or real time. you can apply similar ideas to other programs. Inspired by his interest in stalactites as well Many art classrooms and studios today as the art of the Baroque period and René are equipped with digital devices such as a

578 Unit Seven Art of the Modern Era computer, printer, scanner, and digital camera. • 3-D modeling and rendering programs are Computers have software programs for draw- available for professional and general use. ing, painting, photo editing, Web design, and Simpler versions focus on making 3-D forms even animation. Although there are hybrid from geometric volumes based on cubes, programs that share features of several types, cylinders, and spheres. Others include con- most art software falls into one of the follow- struction of 3-D environments based on ing categories: width (x), height (y), and depth (z). Similar • Draw programs are two-dimensional vector to movies, they include lighting and camera or “object oriented” draw systems that are controls to adjust the intensity and direction based on mathematical formulas. Each line of the light source as well as camera views or shape is an object that can be quickly and angles. Be sure to check memory and selected, moved, or altered. The distinct system requirements before purchasing. advantages are its ability to make very pre- • Page layout software formats text and cise figures, and objects can be resized— graphics (vector and bitmapped), making it made larger or smaller—without loss of a major tool for a graphic designer. The quality. Use this kind of software for sharp, artist begins with a blank document and crisp letters and hard-edged designs. imports text from a word processing pro- • Paint programs are painterly, “pixel gram into panes or windows containing the based” programs that are also called tools used to manage and arrange text. “bitmapped.” Lines and shapes are made Frames are added to hold either text or pic- from individual pixels, or dots. These dots tures. For more complex page layouts, sev- make it easy to edit parts of an image and eral frames of different sizes may be added. apply special effects that simulate real art • Multimedia presentation software allows materials, brushes, and textures. Photo you to create a digital slide show by com- editing software is also pixel based and bining work from many sources—drawn allows you to adjust the hue, saturation, images, photos, text, sound, and video—all brightness, and contrast of a digital photo into one document. Perhaps you have or scanned image. already used this kind of software for a pre- • Animation software is based on various sentation, report, or your digital portfolio. paint, draw, and 3-D systems. There are Each slide is a page of the show. You can many choices, from high-end professional scan or take photos of your work with a programs to simpler ones such as Frame digital camera and include original artwork animation. This kind of software has made on the computer if it is saved as a become popular for those who want to JPEG file. After the content is arranged on create simple animations just for fun or to the slides, add your own narration, special use in Web page design. effects, or background music.

■ FIGURE 24.45 This type of 3-D animation is used to produce complex computer gaming software. What innovations by artists like Em and Latham led to computer animation programs?

3-D animation art.

Chapter 24 Modern Art Movements to the Present 579 As technology evolves, the artistic options managed to endure. Artists continue to for self-expression increase. When deciding dream, to experiment, and to create. The how to complete an artwork, you can readily efforts of many of these artists are destined to combine traditional and digital media depend- be recorded in chapters of art’s impres- ing on the results you want to achieve. If you sive story—a story that began centuries ago, make a painting, scan it or take a digital pho- when the first artist, awkwardly making tograph of it. This digitizes it so that you can marks on stone, discovered it was possible to open it in a paint program. There you can create an image on the rough wall of a cave. select tools to add digital brushstrokes and special effects to create a whole new artwork. The ability to digitally store files has many advantages. Not only can you retrieve these files quickly, but you can also reproduce and rework an image in endless ways. This allows you to be creative without wasting materials such as paper and paints. With the Internet, it is simple to research and share examples of art with others. The Story of Art Continues Art has its roots at the dawn of civilization, and it has continued to thrive from age to age to the present. Every nation and culture has produced art in one form or another. ■ FIGURE 24.46 Layers, colors, and forms are Flourishing during periods of prosperity and combined to create this digital artwork. Describe grandeur, art somehow manages to survive the image you see. What does this composition express to you? wars and catastrophes. Whether admired, ignored, ridiculed, or condemned, it has Jeff Brice. Untitled. Digital image.

LESSON THREE REVIEW Reviewing Art Facts 1. Define What is digital media? 2. Explain How did Sonia Sheridan use Identifying Influences The are mirrors of the software to manipulate video? cultures and times that produce them. The works presented 3. Recall What did in Chapter 24 are a small sampling of art of this period. David Em experiment with that Understanding contemporary art requires us to know some- became part of most paint programs? thing of the forces that drive our world culture. 4. Explain List the differences and Activity Re-examine the paintings, sculptures, and architec- similarities between draw and paint ture illustrated in Chapter 24. What are the social, economic, programs. political, and religious factors that influence these artists to create the art that they do? Do these factors differ from events that drove artists in other time periods? How will future artists be influenced? Write your responses in a short paragraph.

580 Unit Seven Visit art.glencoe.com for study tools and review activities. Expressive Computer Painting

Materials Create an expressive painting with color and lines • Computer with monitor using three different brushes. Combine geometric or • Paint program (or draw program) free-form shapes in a variety of sizes to create unity in • Digital tablet and stylus (optional) a nonobjective composition. • Color printer Inspiration Compare Kandinsky’s nonobjective painting (Figure 23.11, page 522) with the work by Robert Motherwell (Figure 24.24, page 554). What is similar, what is different? How does the balance in each work affect the composition? Brainstorm with the class a list of adjectives that convey moods and emotions. Identify one mood to illustrate your work.

Process 1. Choose a color scheme of three to five colors to match the emotion you chose. Consider how light and dark values reinforce emotions. 2. Experiment with a variety of brushes and strokes. Remember to use the Edit/Undo command to eliminate what you do not like. 3. Add lines to express the mood. Repeat lines and adjust width, length, and color. Add details to some areas for emphasis. 4. Work in layers. Place a variety of lines, shapes, and colors in layers to create effects. Try out different ideas before making the final decision. 5. Title your final work. Save in a file format and reso- ■ FIGURE 24.47 Student Work lution that is compatible with your printer.

Examining Your Work

Describe What kinds of lines and colors did you choose Interpret Write a sentence expressing the idea of your to express the idea or mood of our work? Identify the composition. Ask other students to list adjectives to color scheme, range of values, and opacity. describe your work. Analyze How does your eye move around the canvas? Judge Does your work convey the idea of the original Is the composition unified, with repetition of lines and descriptive word you chose? If the emotion changed as colors? you completed the work, describe how it is different.

For more studio lessons and student art see art.glencoe.com. 581 Zaha Hadid takes architecture into the future. STEVE DOUBLE raq is home to some of the world’s most ancient buildings. It is also Ithe birthplace of an architect whose buildings are futuristic. Born in Baghdad in 1950, Zaha Hadid studied architecture in London, where she now lives. She has risen to the heights of her profession where achievements of women architects are often overlooked. In 2004, Hadid became the first woman to win the Pritzker Prize, the highest honor given to architects. Hadid’s fame has come from producing architecture like no other. Hadid (above) says of the For one thing, she is bored with walls that meet at right angles. Rosenthal Art Center (below):“The concept is a “There are 360 degrees,” she has said, “so why stick to one?” A build- jigsaw of diverse exhibition ing is a place for shelter, but that does not mean it has to be a “dull spaces. . .each with different box.” Instead, it should be a “fun” place. Hadid’s work has lighting conditions.” been called outrageous, thoughtful, otherworldly, and one of a kind. Her first building was a small fire station in a town in Germany. It looks like a fire station from perhaps the twenty-second century, with walls that swoop and stick out at unusual angles. Another building—the Rosenthal Contemporary Art Center in Cincinnati, Ohio—resembles a stack of boxes that look like they might slide off onto the street. Inside, the hallways curve and ramp like a roller coaster. Hadid’s biggest project so far is a housing development in Singapore that will take 20 years to complete. It is designed to create REUTERS a community for 50,000 residents and 70,000 workers. As many more people have come to appreciate, Hadid thinks outside the box.

TIME to Connect

One of Hadid’s current challenges is designing a community to house 50,000 people. In the United States, many planned communities have been built. • Using your school’s media center,research the history of twentieth-century planned communities in the United States, such as Levittown, New York; Reston, Virginia; or Bonita Bay, Florida. Find out who designed them. Compare the different communities. How are they similar? How are they different? • Write a report summarizing your findings. Share your report with the class. Use online photos and other primary sources to illustrate your findings.

582 Chapter 24 Modern Art Movements to the Present 24 REVIEW Reviewing the Facts Thinking Critically Lesson One 1. ANALYZE. Analyze the color scheme of Edward 1. How did Paul Klee incorporate fantasy into his Hopper’s painting Drug Store (Figure 24.7, paintings? page 550). How do the colors relate to each other 2. How does Abstract Expressionism differ from on the color wheel? How do these colors con- representational art? Name four artists identified tribute to the mood expressed by the painting? with the development of this movement. 2. COMPARE AND CONTRAST. Refer to Henry 3. Describe Jackson Pollock’s technique of painting. Moore’s sculpture in Figure 24.25, page 563 and 4. What characteristics are typical of the works of to Alexander Calder’s sculpture, Figure 24.28, Hard-Edge painters? page 565. Compare and contrast how each artist Lesson Two used natural shapes to achieve harmony. 5. What building combines the features found in the abstract figures of Henry Moore and the curv- ing architectural forms of Antonio Gaudi? Who was the architect for this building? Select a realistic artwork that appeals to 6. What is environmental art and how does it differ you. Make a thumbnail sketch of the work’s from traditional sculptural forms? Name two subject. Consider how you would alter the artists working in this art form. realistic qualities of the subject to make 7. What did Postmodern architects accept and reject them surreal. Try scanning your sketch. from earlier styles of architecture? Looking at one specific object in your 8. What memorial did Maya Lin design? Describe sketch, transform shapes into surreal forms. the symbolism of the design. Make several sketches to show an evolution from realism to surrealism. Save your work in your digital portfolio.

Standardized Test Practice

1. In the Sierpinski Triangle shown, how many Place head here to be only similar triangles have the same orientation Read the paragraphtwo below lines and thenlong! answer the questions. as the black triangle? 2 4 Artworks using geometric designs lead computer-aided artists into the world of 3 1 fractal art. Fractals are nothing new. In 1915, 2. How many triangles are congruent with the the Polish mathematician Waclaw Sierpinski black triangle? noticed a recurring fractal common in Italian 2 4 art of the 1200s. Shown here, it has become 3 1 known as the Sierpinski Triangle.

Chapter 24 Review 583

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